30. Marvel Timeline

You know how animated series get to pick and choose and create these "perfect" versions of their respective universes using ideas from decades worth of stories? I had a notion to do something similar with the Marvel Universe, taking the idea of heroes aging in real-time and applying the idea of how different eras affected the writing of different characters, and creating a Marvel "timeline" that starts in the 1940s and extends into 2010. It's a skeleton at best, but I kind of like the idea, maybe as a backdrop for a Marvel RPG or something. So here it is:


1940s
The heroic age begins in the late 1930s as heroes emerge to face the growing Nazi war machine. Namor the Sub-Mariner reveals the existence of Atlantis, and joins the American super-soldier Captain America and the American super-android Human Torch, alongside the British Union Jack and Spitfire, as the Invaders. The Germans, desperate for weapons of their own, summon the Norse god Thor, who quickly realizes he's on the wrong side and joins the Invaders. However, the use of Nazi sorcery results in a bit of a stalemate with Allied super-powers, and the end result is that the war is still won by human soldiers and bravery, and the development of the atomic bomb is still necessary to end the war. Captain America is lost, frozen in ice, and Thor returns to Asgard.

1950s
The bridge between the Golden Age and the Atomic Age of heroes. A group of government-affiliated heroes known as the Agents of Atlas are the primary American heroes, although there are "greaser" heroes operating on the streets as well, the precursors to urban vigilantes like Spider-Man, Punisher and Moon Knight. In addition, war hero Sergeant Nick Fury becomes a Colonel and heads up the newly-created SHIELD (Supreme Headquarters International Espionage Law Enforcement Division). They begin keeping tabs on superheroes and supervillains alike.

1960s
The Atomic Age truly begins when the Fantastic Four steal a rocket in an attempt to beat the Russians to the moon and are bombarded with cosmic rays, returning as the first American heroes with public identities. Shortly thereafter, atomic accidents create two new heroes who are often mistaken for villains in Spider-Man and the Hulk. And background radiation from nuclear testing has resulted in the birth of mutants, including the original X-Men and the original Brotherhood of Evil Mutants, who begin a very public war over the future of mutant-kind and how it will interact with humankind. In the late '60s, a trip to Vietnam results in Tony Stark creating his Iron Man armor, and he returns home to help found the Avengers, alongside a returned Captain America and Thor and new science heroes Ant-Man and the Wasp. The Hulk is an early ally, but proves unstable and leaves the team before the '60s are over to roam the country.

1970s
The Revolutionary Age, when many social conventions were being shaken and tested. On the streets of New York, increases in street crime, organized by the Maggia and the Kingpin, are met with resistance from urban vigilantes like Daredevil, Punisher and Power Man & Iron Fist. Meanwhile, an Eastern influence begins with the birth of Doctor Strange and the war between Shang-Chi and his father Fu Manchu. There's also a general increase in "weirdness" and counter-culture, as evidenced by the rise of superteams like The Defenders and the All-New, All-Different X-Men, who represent a more international than American team. The Avengers and Fantastic Four continue their adventures, although they are increasingly out in space, dealing with cosmic problems like the Kree-Skrull War or Adam Warlock and Captain Marvel battling Thanos and the Magus. Meanwhile, a new wave of feminist heroes emerges with Jewel (Jessica Jones), Spider-Woman, Ms. Marvel and She-Hulk. The Avengers roster expands to include Wonder Man, Vision & Scarlet Witch and the Falcon.

1980s
The Legacy Age begins, as heroes from the Atomic and Revolutionary age begin to age and retire or die. Captain Marvel is the first notable hero, dying very publicly of cancer. Phoenix dies soon after, sacrificing herself to save the universe. Captain America, having now reached his 50s, begins training Jim Wilson, a.k.a. the Falcon, to take over as the new Captain America, and recruits many new Avengers, including the new Captain Marvel (Monica Rambeau), Black Knight (Dane Whitman), Hercules and Tigra. Tony Stark passes on the Iron Man identity to the son of his pilot and best friend, Jim "Rhodey" Rhodes Jr., who joins the new team as well. On the streets of New York, Moon Knight joins Daredevil and the Punisher in their fight against the Kingpin and his ilk, while a sonic-powered mutant named Dazzler makes big headlines as the first mutant with a public identity (and multi-million dollar recording career). The X-Men recruit a new class of students, the New Mutants, to their academy, as several of their number retire to teaching careers at the school. During the mid-'80s, the Secret Wars take place, and many older heroes are killed in battle against their long-time foes, resulting in the new "legacy" heroes having to face of against the resurgent Thanos and his Infinity Gauntlet.

1990s
The Dark Age begins with the death of Spider-Man. With so many of the established heroes gone or retired, a vacuum forms for newer, darker heroes with darker codes of justice. The New Warriors step up as a young hero team to replace what they see as the "establishment" Avengers and are embraced by a youth culture influenced by grunge rock and nihilism. New strange heroes like Darkhawk and Sleepwalker emerge. The X-Men and New Mutants find themselves divided between Xavier's dream and Magneto's, and a new militant leader named Cable turns much of the New Mutants into X-Force, battling more dangerous foes like the deadly mercenary Deadpool, the deadly Apocalypse and the resurrected Brotherhood of Evil Mutants, now headed by the psychotic son of Charles Xavier, Legion. Legion's time manipulations result in the creation of the alternate universe Age of Apocalypse, which results in the death of several mutants, including founding X-Men Angel, transformed into Apocalypse's Archangel of Death. Meanwhile, the Avengers are disbanded, scattering to different parts of the country to fight crime in their own ways. Stark Technologies begins a focus on improving techology for everyone, which includes a major Iron Man upgrade. Captain America begins a network dedicated to creating a sort of national Peace Corps.

2000s
The New Age begins, as new incarnations of familiar teams are formed. The New X-Men are centered around the X-Corporation, an international mutant advocacy group for the growing population of mutants. It's membership includes former X-Force, X-Men and New Mutants members, as well as numerous new mutants, and it's board includes the surviving original X-Men: Cyclops, Iceman and Beast. They also maintain the Xavier Academy in Westchester and open the Grey-Worthington School in San Francisco as havens for mutants. After disbanding in the late '90s, the Avengers are reformed when a massive multi-super-prison break calls for their return. The team is organized by the son of Nick Fury and headed up by Power Man (the son of Luke Cage and '70s heroine Jewel), and includes a new Spider-Man (Miles Morales), a new Iron Man (Tony Stark's grandson), Wolverine (in a show of mutant solidarity with these new heroes), a new Captain America (the daughter of Winter Soldier & Black Widow) and Thor, newly returned from Asgard. They also create the Avengers Academy, a school on the west coast designed to bring new heroes into the Avengers fold in the future. In the shadows of Los Angeles, a new group of teen heroes, The Runaways, are formed when they discover that their parents are super-villains, and in deep space, Thanos rises again to find himself confronted by the Guardians of the Galaxy.

And for further spiff-balling, here are the potential titles that would be published during these years. There would probably be more:


Marvel  Age:

(*) indicates a book that continues from the previous decade

1940s:
The Invaders (1939)

1950s:
Agents of Atlas (1950)
Greaser Hero (1952)
Nick Fury and the Agents of SHIELD (1953)

1960s:
Amazing Spider-Man (1961)
Incredible Hulk (1962)
Fantastic Four (1963)
The X-Men (1964)
Iron Man (1965)
The Avengers (1966)
*SHIELD

1970s:
The Mean Streets (Daredevil, Punisher, Power Man & Iron Fist) (1970)
The Defenders (1971)
The Uncanny X-Men (1972)
Doctor Strange (1973)
Shang-Chi, Master of Kung-Fu (1974)
*Fantastic Four
*Amazing Spider-Man
*Incredible Hulk (Ends 1978)
*Iron Man
*The Avengers
*SHIELD

1980s:
The Death of Captain Marvel (GN) (1980)
The Death of Phoenix (GN) (1982)
Captain America (1981)
Dazzler (1983)
New Mutants (1984)
Power Man & Iron Fist (1985)
Secret Wars (LS) (1986)
Infinity Gauntlet (LS) (1989)
*The Mean Steets (Punisher, Moon Knight, Daredevil)
*Doctor Strange
*The Uncanny X-Men
*Fantastic Four
*Amazing Spider-Man
*Iron Man
*The Avengers
*SHIELD

1990s:
The Death of Spider-Man (GN) (1991)
New Warriors (1992-1999)
X-Factor (1993-1999)
X-Force (1993-1999)
X-Men (1993-1999)
Age of Apocalypse (LS) (1994)
Avengers Disassembled (LS) (1995)
Captain America Corps (1996-1999)
*The Mean Streets (Punisher, Moon Knight, Daredevil, Darkhawk) (Ends 1999)
*Doctor Strange & Sleepwalker (Ends 1999)
*The Uncanny X-Men (Ends 1999)
*Fantastic Four (Ends 1999)
*Iron Man (Ends 1999)
*SHIELD

2000s:
New X-Men (2000)
Mutant Academy (2000)
New Avengers (2000)
Avengers Academy (2000)
The Future Foundation (2000)
Stark Technologies (2000)
The Runaways (2001)
Guardians of the Galaxy (2002)
*SHIELD

7. Worst Spider-Man Writers

This is going to be shorter than my favorites list, partly because I don't have as much to say about writers whose work I didn't like as I do writers I liked. In reverse order:

5. Marv Wolfman - Not really bad writing, given that most of the melodrama and such were elements of the period, not Wolfman in particular, but some of the weakest Spidey because it felt like Wolfman never got Spidey. His Peter Parker was the biggest sad sack and failure on the planet, his supporting cast felt more "larger than life" and DC-like, his original villains were pretty terrible and his use of the classic villains not particularly inspired. Still, compared to the others on this list, it was mostly flat writing, not bad writing.

4. Terry Kavanaugh - I confess, I'm not even sure I spelled his name right. But for a while, Kavanaugh was a Marvel editor turned writer in the '90s who contributed a lot of the clone saga and other execrable Spidey stories. To the best of my knowledge, he never wrote a single story I found palatable.

3. Howard Mackie - Which, technically, should put him higher (lower?) on the list than Mackie, who did write a few stories I found at least solid, if not inspired. But Mackie contributed not only to the clone saga, but also to Byrne's Chapter One era, and was involved in so many terrible stories that he's more memorable (and not in a good way) than Kavanaugh. I'm trying not to extend extra credit for how badly he screwed up the X-Men in the '90s and 2000s as well.

2. John Byrne - Chapter One was everything Ultimate Spider-Man could have been. I do not mean that as a compliment. An attempt to "update" Spidey's origin succeeded only in making him dated for the '80s, not the '60s (and this was written in the late '90s), the attempt to tie up "loose ends" of his origin by tying in Doc Ock or having the burglar notice Peter buying a computer totally missed the point of the character and had all the feel of Byrne's usual "continuity fixes," which fix problems that only a crazy person actually saw before they were fixed. The best thing I can say is that this era is utterly forgotten, so it didn't do any long-term damage.

1. Joe Quesada - I know, I'm not even sure he's credited as co-writer, but let's be honest, the blame for Spidey's devil divorce lays squarely on Quesada's doorstep. Straczynski wrote it, and deserves part of the blame, but Quesada was the guy beating the drum for it, and swearing up and down that they had a clever way to un-marry Spidey. An actual divorce would have done less damage to the character. Mary Jane being murdered by a villain would have done less damage to the character. And the "Brand New Day" status quo shackled some very good writers so that they weren't able to get their feet under them fully for months or even a year afterward, and still causes problems. Dan Slott should be a dream writer for Spidey, and he would be if he weren't saddled with the "Brand New Day" status quo.

Honorable mention here to Kaare Andrews, whose alternate reality tale Spider-Man Reign is the bleakest sort of fan-fic crap that Marvel actually published. Mary Jane dies of cancer because of Spidey's radioactive jizz. Seriously.

Have Marvel and DC Both Lost Their Minds?

Look, dealing with employees, especially creative talent, can be tricky. We all know this. But two news stories emerging today in the world of comics and comics-to-film are just mind-boggling.

First, and probably more notable to a wide audience, is that Marvel reportedly thinks Iron Man 2 will be just as good with or without Jon Favreau, and they don't want to pay him more to do the job.

To any studio nimrod holding this point of view, I say this: Favreau delivered on your biggest gamble *ever* and served you up a foundation for Marvel movies going forward in the next few years. Pay the man. He knows what he's doing. He combined comic fan passion with movie-making skill, he knows everyone already involved in the movie, knows the characters, knows the story.

It is possible, although highly unlikely, that you could get someone just as good as Favreau. It is impossible that you will get someone better. It is very likely you will get someone worse and tank your suddenly brand new, shiny A-list money-making licensable property.

Remember X3? Learn those lessons well.

Edited to add: David Maisel. Remember that name. That is the name of the guy who might well tank Marvel Studios' promising start at the theaters.

Secondly, more important to guys like me who have been digging Robin and Batman and the Outsiders and the general resurgence of Dixon at DC, comes the terse announcement on Dixon's message board that he is no longer employed by DC.

As his work was one of the very few glimmers of hope that I could enjoy DC superheroes right now, this was a pretty crushing disappointment. I hold out hope that it's over some crazy right-wing political thing so that I can at least have some modicum of respect for DC, but I'm guessing that it's some stupid ass editorial thing, since they seem to have a remarkable capacity for those these days.

Market share's not getting any bigger, DC. Might be time to start thinking about turning that ship around before all the creators jump off.

The Strawman

Over at his blog, Tom Brevoort offers up a familiar spin on an argument he has used a few times before to complain about indecisive fans. You can read the full piece here, but the important part is this:

"For example: it's not great secret that there are still people upset about the changes to Spider-Man. Fair enough, But in the space of a day or two, I got five-or-so comments lamenting the elimination of Spidey's organic webbing, and the fact that there's been no mention of the additional powers he gained during "The Other."

Which comes as a bit of a shock, frankly, because the overwhelming majority of the reactions we saw at the time those two stories came out were decidedly negative! Nobody seemed to like the organic webbing, and people wrote long treatises about how Peter creating mechanical web-shooters was better, because this showcased his science skills. But just a couple short years later, we go back to the mechanical web-shooters, and it's like we fire-bombed something."

This is, to put it plainly, a ridiculous argument. What Tom is saying here is that of the 100,000+ readers of Spider-Man, five of them spoke to him in New York to complain about the elimination of organic webbing and new "The Other" powers. These five people, through some brand of statistical sampling I'm unfamiliar with, also represent the hundreds if not thousands of fans who disliked it when the organic webbing and "The Other" powers were introduced.

It is not even remotely possible that these might be different fans. Because clearly, if there were five comments, they must come from the majority of the 100,000 fans. I'm not sure how 0.00005 percent equals a majority, but hey, I was a journalism major, not a math major.

Brevoort (and Quesada, and Didio, and Bendis, etc.) love to use this argument. "Well, these fans are now loving the same thing the fans were complaining about a few months ago! You crazy fans, you don't know what you want!" When in fact, while some fans change their minds, many of them probably were glad to see the organic webbing and "Other" powers go, they just were sad that the way they were eliminated was by a ridiculous, shoddy bit of storytelling that ran late and accomplished a goal nobody in particular was clamoring for (eliminating the Spidey/MJ marriage) along with the stuff people *were* clamoring for (good stories, new creative teams). Or maybe they hated the organic webbing, they *love* that it's gone, but they didn't think to come up to Brevoort and say "Hey, great job getting rid of that organic webbing!"

Just because I'm liking some of Brand New Day doesn't mean I thought One More Day was the way to get there. Just because I wound up loving The Order doesn't mean I liked that Civil War was used to set it up. Just because I enjoyed most of 52 doesn't mean I'm in love with the new multiverse and Countdown. And just because five fans came up to you at a convention to tell you they miss the organic webbing doesn't mean we all do.

Brevoort is smart enough to know this. He also knows full well that fans are more likely to offer negative criticism rather than positive criticism (and even the positive, at a Con, is more likely to be of a "You guys rock!" general kind of thing, not a "thanks for ditching those lame-as-hell organic webshooters" kind of thing).

He's making a strawman argument to try and belittle legitimate criticism along with the irrational crazytalk that too often passes for criticism on the message boards. Brevoort's blog is a great resource, a look at comics from a guy with a ton of experience and smarts. It's just a shame when he dips into this well of overly defensive rah-rah PR.

Marvel Trying Their Hand At European Comics

There have been a lot of publishers trying to make headway in the American market with European comics. I'm always heartbroken when they fail, because there are a *ton* of European comics I'd love to read, but usually what happens with these deals is that they print one or two books I'm interested in, a whole bunch I'm not real interested in, and the whole thing goes under before they get to books I want to see.

Marvel's going to give it the old college try, though, and I think that's pretty cool. Nice looking art on the books so far, too.

Oh, and Obama in South Carolina? Beating Clinton by 2-1? Awesome. Victory speech:

Hooray Marvel!

Look, I give Marvel a lot of shit on Comic Pants and elsewhere (even while loving some of their output, like The Order and other great books that have *not* been canceled), but you have to give them credit for getting this one right.

Marvel Studios signs Interim deal with WGA

Seriously?

Seems to me it's been a pretty good year for Marvel. If you just ignore all the stupidity and misogyny going on in the Bendis corner of the universe (and I've surgically removed my Avengers love until somebody else is running that show), there's been World War Hulk and Incredible Hulk, a perfect mix of modern pop thrills and actual appreciation for the characters and history, hipster superheroes from Brubaker, Fraction and Ellis, the kickass cosmic epic Annihilation: Conquest and just solid post-Civil War superheroes in books like New Warriors. Sure, the X-Men are basically dull and lifeless, but really, Grant Morrison, Frank Quitely and company might have been the last hurrah for those characters. When even Ed Brubaker and Joss Whedon can't make 'em interesting to me, there's something wrong with that subset of the universe or with me. Allowing that it might be me, and I might just be tired of the X-Men, there's still a whole lot of readable (and strong selling) books at Marvel.

They've made best sellers out of the Hulk, Moon Knight and Iron Fist. I've loved these characters for a long time, but I didn't think anyone else would.

So what's the first thing they do, when they've got a good buzz going, Hulk is a cool character again, and folks want to read about him? They hand him over to Jeph Loeb, whose Wolverine arc was... well, calling it a trainwreck is being kind. Here's Paul O'Brien to explain.

And what does Loeb do? Well, in a move that seems more in line with DC than Marvel, he's starting off with a murder mystery involving "one of Hulk's oldest cast members." Hands up, anyone guessing it'll be a perfectly good female character. If your hand isn't up, you probably haven't been reading superhero comics lately. Maybe I'm wrong, though, and they'll just off Rick Jones or someone else who no doubt has more potential in him/her than this lame duck of a story.

Oh, and the Hulk? He's big, and red, and puffy, and looks like something you'd see watching Adult Swim while tripping on acid. And there's a mystery about who the character is. Because having just established Hulk in his classic look, with a new and badass personality and motivation, and a movie on the way starring Ed Freakin' Norton, the first thing you want to do is change *everything* about the character. After all, it worked out so well for Wolverine.

But maybe I should give Loeb the benefit of the doubt. After all, remember his Superman/Batman? And how it made absolutely no sense? Hmm. Well, what about his work with Rob Liefeld? Oof. OK, but what about his work on Wolverine?

If Tim Sale were involved, I'd have reason to be at least a little bit hopeful, as Loeb/Sale bring out the best in one another, and their collaborations always raise Loeb's game, occasionally (as with his Daredevil: Yellow) to an A-level. But this looks just awful.

And worse, 2007 has seen a Marvel Universe with no Mark Millar, and Millar is gleefully announcing he's going to save the company (presumably from making sense and having characters instead of indistinguishable action puppets) by having five books at Marvel next year. Yikes.

With these developments looming and the ugly-ass gun-toting new Cap, I'm starting to get a bad feeling about Marvel '08, at least in terms of my own interest. And DC is showing no signs of getting my interest back anytime soon. I'm sure I'll get my superhero fix somewhere, though, at Image and Dark Horse if nothing else. And if the last few years are any indication, even if DC/Marvel aren't firing for me in general, the small press and self-publishers will be producing plenty of good material.

Graphic Novel A Day: Extreme Cheater Edition

I've been a little busy, but I have been reading graphic novels on a mostly daily basis. I just haven't had time to do write-ups. So rather than go through and back-date a bunch of posts, find images, etc., which I'll probably just keep procrastinating on, here's a list of what I've read and quick thoughts:

Star Wars Visionaries TP (Dark Horse) - Stories and art from concept artists who worked on Star Wars III: Revenge of the Sith. Most of the stories are pretty weak, save a decent offering about a soldier on Hoth by Alex Jaeger and M. Zachary Sherman and an interesting and beautifully painted story about the origin of General Grievous by Warren Fu. But the art throughout is really nice, and the concept art showcased really cool. I would have preferred this to be a gallery piece, mostly showing off unused concept art, but it's an interesting idea for a Star Wars book at any rate.

Mutation Vol. 1 TP (Markosia) - Really nice Bruce Timm-esque art, some solid superhero slugfests, but the stories just don't make any sense. It's clear what writer George Singley is aiming for, a basic no-calorie superhero action book, but he needs a little bit more of a hook to make it anything but pretty fights by Ethan Beavers.

Captain Gravity and the Power of the Vril TP (Penny-Farthing) - A somewhat overwrought and melodramatic take on the pulps, Dysart's script should have dialed back a little on the angst and aimed for a more fun, pulp spirit, but despite that, it's a pretty solidly entertaining yarn that is more or less true to the nature of pulp superheroes. Also, terrific art by Sal Velluto (with some inks by his Black Panther compadre Bob Almond), nice colors by Mike Garcia and solid production values from Penny-Farthing. Never rises to great, but a solid B offering.

B.P.R.D. Vol. 6: Universal Machine TP (Dark Horse Comics) - Another fantastic offering from the regular BPRD creative team, revealing some of the secret history of zombie captain Ben Daimio and really allowing non-powered agent Kate Corrigan time to shine as she bargains with a sadistic demon for the return of Roger the Homunculus. Plus, as always, Guy Davis and Dave Stewart just bring the house down with the art.

Ex Machina Vol. 5: Smoke Smoke TP (DC/Wildstorm) - The best Ex Machina trade since the first one, including flashbacks to Hundred's days as a hero, intrigue within his cabinet, great supporting cast (love the two gay firefighters more than most of Mitchell's actual support staff) and a fantastic single issues shedding light on the past of his bodyguard Bradbury. Terrific art by Harris, Feister and Mettler as well. This might be my favorite Brian Vaughan book at the moment.

Para TP (Penny Farthing) - Stuart Moore's tale of a supercollider accident, a grieving daughter and an investigation into what happened starts off intriguing and creepy and then quickly goes off into bizarre, borderline superhero/sci-fi territory where it doesn't belong. Too much over-the-top technology like killer robots and other-dimensional ghosts, and the spooky, X-Files-ish vibe of the early issues is lost. Good mystery setup, extremely dissatisfying resolution.

One Page Filler Man (Image) - Jim Mahfood just cuts loose and makes it up as he goes along. The results are mixed, but the art is strong and there are great, fun bits throughout.

The Norm In Color (The Norm.com) - This is a gorgeously produced book. Michael Jantze is an extremely talented cartoonist, and his work in color is jaw-dropping, comparable to some of the greats like Berke Breathed or Bill Watterson. Seriously, there's a visual imagination at work here that takes aspects of pop culture and cartoon culture, breaks them down and incorporates them, and it's stunning. Unfortunately, the subject matter of too many of the strips and the gags resulting are often overly familiar riffs on guys and girls and relationships, without much new to offer. That's not to say there aren't laughs to be found, or genuinely touching moments, or that The Norm is bad. Indeed, it's very entertaining most of the time, in the same way that a good, solid sitcom can be entertaining. It's just that visually, the book is breaking boundaries, but its story and characters are of a more standard variety, and art this great deserves stories just as great.

Avengers/JLA (Marvel/DC) - Finally broke down and bought this deluxe hardcover, and I still really like the story. It's a kind of old school team-up we'll not see again, given that the fans seem to want a much different kind of darker, more "realistic" superhero universe from both Marvel and DC. Makes for a last great hurrah for these types of stories, though, with amazing art by George Perez and a real love-letter to the characters by Kurt Busiek that still manages to be an exciting, classic style superhero story at the same time. The companion volume, with all the background on the Marvel/DC crossovers in general (and JLA/Avengers specifically), is also a nice treat.

Degrassi The Next Generation Vol. 1: Extra Credit (Pocket Books) - Planning to write a review of this J. Torres-penned graphic novel at Comic Pants at some point. In short, it's a lot like Breaking Up (with art by Christine Norrie) - good craftsmanship, and though I'm not really the target audience, I can tell that it does what it sets out to do very well.

King City Vol. 1 (Tokyopop) - This one I did review at Comic Pants. Loved it. My favorite graphic novel read of the month thus far.

Giant Robot Warriors (AIT/Planet Lar) - Reviewed this one at Comic Pants as well.

Essex County Vol 1 Tales From The Farm TP (Top Shelf) - An emotionally charged look at a sad little boy and the uncle who tries desperately to connect with him, and a has-been hockey player who finds a friend in the boy. Lovely art, and a poignant, effective portrayal of complicated relationships.

Graphic Novel A Day: Beyond! HC

Writer: Dwayne McDuffie
Artist: Scott Kolins
Company: Marvel
Price: $19.99

This is a great deal, price-wise, as it's an oversized hardcover of a six-issue miniseries for only $20. It also features great superhero comics writing by Dwayne McDuffie and terrific artwork by Scott Kolins. Heck, I'd recommend it for the Dragon-Man fight alone, but there's also a good use of Gravity (up until the end, which I'm still not crazy about), Deathlok, the Dr. Pym incarnation of Hank Pym and Space Phantom, to name only a few. Those whose love of the Marvel Universe extends into the C-listers like me will love this book. Honestly, it's the fringe characters who tend to hold my interest more than the big guys in either universe, and I was glad to see some of my small favorites get the spotlight for a little while.

Graphic Novel A Day: Avengers Assemble Vol. 4 HC

Writer: Kurt Busiek
Artists: Jerry Ordway, Steve Epting, John Romita Jr., Alan Davis & more
Company: Marvel Comics
Price: $34.99 ($23.09 at Amazon)

It's funny, I didn't wholly appreciate how good Busiek's Avengers run was at the time. I mean, I loved a lot of it, but I fell off several times, and I seem to recall loving some of the issues collected in here and being lukewarm on some of the others. But looking at this hardcover, which collects the Avengers vs. Intergalactic Federation story Maximum Security and the post-Perez Avengers segueing into Alan Davis' all-too-brief run, all I could think is that this is sort of the baseline I'd like for the Marvel Universe. Fun for all ages but not dumbed down, loaded with continuity and characters but not restricted to only longtime fans, packed with action and respectful of the style of the superhero genre. The heroes are heroic, but their struggles still have tension, the stories are action-packed but they don't leave out characterization. It's really the closest the Avengers got to what is to me the untouchable greatness of Roger Stern's run. I loved this book, and hope there's at least one more on the way to finish out Busiek's run on the book. The only sadness is that reading this, I realized that the type of superhero shared universe I want is probably dead and gone, replaced by the Civil War/Identity Crisis-tinged modern universe that, quite frankly, usually holds little to no interest for me.

Graphic Novel A Day: Marvel Visionaries: John Buscema HC

Writer: Various
Artist: John Buscema
Company: Marvel Comics
Price: $34.99 ($23.09 at Amazon)

I have a huge fondness for the art of John Buscema, and I like the oversized hardcover "Visionaries" format quite a bit in theory, but overall, this book didn't quite make the grade to be added to my library. The selection of stuff is interesting, a fairly complete look at Buscema's career with a heartfelt introduction by Roy Thomas, but I found that most of what I really wanted to see I already had, either in the form of trade paperbacks, original issues, DVD-ROM or in a few cases all three. The few stories I didn't have were either early work that didn't really capture why I liked Buscema so much (in the case of the EC-style stories at the beginning) or were too small to be worth picking up an expensive volume like this one (such as the Black & White story). It's a good book, and worth picking up for anyone following the Visionaries series, but since I already bought another Marvel HC (Avengers Assemble Vol 4) and the newest color Bone this week, I decided to put this one back on the shelf.

Graphic Novel A Day: Essential OHOTMU Update '89

Writer: Peter Sanderson
Artists: Various
Company: Marvel Comics
Price: $16.99 ($12.06 at Amazon)

The Official Handbook of the Marvel Universe, Deluxe Edition (or OHOTMU, as it's been lovingly abbreviated by me and some friends) is basically the bible of my Marvel Universe. It captures my favorite era, the mid-'80s, and is overseen by the best steward the Marvel Universe has ever seen, Mark Gruenwald. I wondered, when they did this Essential Volume of the '89 Update, why it was a Volume 1, not Volume 4 of the Essential OHOTMUs. Having reread, now I know why. This bears more resemblance to Marvel's modern pretender to the Handbook throne than the classic that they produced in the '80s. Gruenwald is gone, replaced by Gregory Wright and then Terry Kavanaugh, neither of whom lit the world on fire with their Marvel comics writing. The all-star line-up of artists from the OHOTMU is gone, and while big names like Walt Simonson and John Byrne do make appearances, and there's some solid art throughout, there's also some godawful art. Rob Liefeld does some art, to give you an indication. In addition, for the most part, there wasn't a need for this update. If you needed a snapshot for when Marvel went on the decline during the Tom DeFalco era, the '89 Handbook offers that. Fallen Angels? SHIELD II? Goblyn and Manikin and the rest of the late era Mantlo Alpha Flight? Artie and Leech, for God's sake! Add in some fairly weak reproduction, with lettering becoming faded and tough to read, and this is a big comedown from Marvel's three volume reprint of the original OHOTMU Deluxe.

Graphic Novel A Day: Spider-Man Loves Mary Jane Vol. 2

Writer: Sean McKeever
Artist: Takeshi Miyazawa & Valentine DeLandro
Company: Marvel Comics
Price: $7.99 ($7.99 at Amazon)

The newest collection of the teen drama comic set against the backdrop of Spidey's early years is as good as always. McKeever and DeLandro give us the origin of Mary Jane, with elements of Spidey's origin floating in and out as the story requires, then follows up with the terrific introduction of Gwen Stacy to Peter and Mary Jane's world. It's a new perspective on Gwen, presenting her as a diversion rather than Peter's true love (it's Mary Jane's book, so we know she's his true love) but as a sweet, likable character at any rate, and it adds another dimension to a book that keeps surprising me. My initial reaction to DeLandro's art was somewhat negative, because in my mind nobody but Miyazawa should be drawing this book, but reading it knowing that someone else will be taking over gave me a new perspective and I realized that DeLandro's art was quite good, and just as interesting a take on the characters.

Graphic Novel A Day: Punisher First to Last HC

Writer: Garth Ennis
Artists: John Severin, Lewis Larosa & Richard Corben
Publisher: Marvel
Price: $19.99 ($14.19 at Amazon)

This is the hardcover that convinced me to go back and buy the other two Punisher hardcovers. And it's the best of the hardcovers thus far, even with it being the smallest. It collects three one-shots - The Tyger, The Cell and The End - that represent the beginning, middle and end of Frank Castle's life. The legendary Severin illustrates a tale of 10-year-old Frank first learning about mob violence and vigilante justice in his old neighborhood (along with interesting glimpses of Frank's parents), the legendary Corben illustrates a dark and amazing story about Frank Castle loosed in a post-nuclear exchange to seek revenge and justice on a scale he's previously never attempted. And the not legendary, but still exceptional Larosa, illustrates a tale of Frank infiltrating a prison to get at some very big mob bosses and soldiers. Gorgeous art, compelling and dark stories, this is basically the underpinnings of Ennis's view of the MAX version of the character, and I like it. The only shame is that they didn't include Born, the Vietnam era tale that represents the other underpinning of the character, as well. Guess that ought to go on my reading list next.